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Ah yes that clarifies things a bit. At a certain point I can't keep coming up with new "headers". I'm kinda at the mindset now of whatever the person wants to use, but then clarify with "Positive" "Blue", building blocks used etc..

I have thought before why didn't Russell use "+2" and "+6", but then it gets a little weird labeling with "+3" and "+1". So instead maybe it was a better idea to just be consistent with the header and get the orientation to be the main thing.

The CDR is exactly that then, the distance as far as how many connections through 5ths (x3), as long as the correct Lydian Tonics are used. It's not implying "Dark".

And the Chord Categories are not implying dark by having a "b5" for instance. To the Lydian Tonic that could be completely positive. This really seems to be communicating what notes are being played in a language that most players know.

Please don't change anything that you're doing...just continue to refine it...
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Let's do this, I'll take one of your algorithms posted here and treat it as if those are lydian tonics and create a CDR from the info.
They're not lydian tonics, but it's the 'route' that I'm looking at...NOT the notes per se...then I'll write it into music.

For example, between the 2nd and 3rd bar, the music jumps from the flat-side to the sharp-side. The CDR points to maybe a suspension at that spot to ease the transition..things like that...
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Your algorithm produced this (it's quite good). Proper voicing ties the chords together like silk lace!

That makes sense. The Top note holds a unique position, it's the highest note. So if a chord doesn't have the same Lydian Tonic as the CDR, then I need to at least voice it with a simple positive number on top to harmonically attach to that CDR Lydian Tonic (Get the Lydian tonics to coexist).